Hilda's Haven

I recently had the pleasure of attending a production by the University of Manchester Musical Theatre Society, marking my first visit to this talented group. From the moment I arrived, the warm welcome and thoughtful guidance to our seats set a tone of genuine hospitality. The open stage, with its meticulously arranged set, immediately captured my attention. There's something thrilling about seeing the stage already dressed—it stirs curiosity and invites the audience to wonder what magic is about to unfold.

The set itself, a charming recreation of a campsite, was both evocative and unique. With audience seating positioned on either side, it offered an engaging variety of perspectives, adding depth to the experience.

The production, Hilda’s Haven, was an original musical conceived and directed by the brilliant Betsey Bircumshaw and Mei Spice. Their creative vision came to life in this moving story about nature’s healing and transformative powers. The narrative explored themes of friendship, tension, and self-discovery, culminating in a dramatic storm where nature itself mirrored the emotional arcs of the characters. This innovative concept was compelling and relatable, drawing the audience into the journeys of the diverse ensemble of characters.

The musical opened with the soulful and emotive number, "Wishing Well," delivered with remarkable enthusiasm and precision by the cast. This stirring opening set the stage for what was to come—a performance brimming with passion, control, and conviction. I was thoroughly impressed by the cast’s consistency and professionalism, as every entrance, exit, and on-stage moment was executed with finesse, making for a truly captivating production.

Rosie Palmer-Barnes brought delightful eccentricity to the role of Hilda, the yoga teacher at the heart of the story. Her interactions with the characters and the audience were nuanced and effective, making us feel as though we were part of the retreat she led. Miya Atherton Patel and Charlotte Cathcart shone in their roles as Elizabeth and Lucy, respectively, delivering solo performances that were not only powerful and controlled but also rich in character and emotion.

The use of the performance space was commendable, with each character’s movements thoughtfully aligned to their intentions and circumstances. Despite the constraints of a smaller venue, Anna Lleywellyn’s clever and imaginative choreography elevated the production. Her ability to craft original movement material that enhanced the artistic essence of the show was truly a highlight.

At just over an hour long, this new musical left me thoroughly impressed and eager for more. I eagerly anticipate future endeavours from this talented society and hope to receive another invitation to witness their boundless creativity. Well done, University of Manchester Musical Theatre Society—your talents are nothing short of extraordinary!

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